Guest Post: Insight Into ABT’s National Training Curriculum

Deb describes her own productive and exhilarating summer adventures as a participant in American Ballet Theater’s National Training Curriculum program in wonderful detail. “The Training is organized as week-long intensives; candidates are asked to obtain certification in Primary Level through Level 3 of the curriculum before being allowed to continue certification in Levels 4 and 5, and then 6, 7, and Partnering (taught as two separate intensives).”

Summing Up The Summit

Instead of actual snapshots I’m sharing some of the thoughts and impressions I picked up along the yellow brick road. I hope you’ll use, think about, or act upon these little nuggets from the Dance Teacher Summit. I had a great time collecting them for you.

How Do You Define “Dolly Dinkle” Dance Instruction?

Most of you have an idea about what it means to be a “Dolly Dinkle” (or Dolly Dingle) dance instructor or dance school. Weigh in with your definition of insufficient dance education.

Appropriate Choices In Dance Choreography For Young Girls

I seriously doubt that any harm is intended. Some say it’s about money and winning – shock value in the truest sense. I can only conclude that the decision to imply or impose an adult sexuality upon one who is not yet an adult, comes down to poor judgment. This does not release anyone involved from responsibility. When we work with children the standards must be higher and the choices must not be careless because children cannot truly choose for themselves while adults are guiding and influencing them.

Curtain Call: The Art and Expectations of Performance Time

It is very important to be budget conscious but also expectation conscious as well when it comes to dance recitals and performances. With everyone on the same page, performance time can be a magnificent time to learn, develop, explore and ultimately have fun!

Confessions of a 28-year-old Grade I Grad: A Look At Cecchetti’s Method

Most dancers (especially American dancers) are trained in ambiguous combinations of techniques that generally come from whatever their teachers learned from their teachers. The fabulous thing about this program is that there is no ambiguity. There are answers for everything, no shades of gray, and very little room for interpretation. Since some of the greatest dancers in history passed through Cecchetti’s own hands, he was obviously doing something right.

Equation for Growth: Recalculating Problems With Parents At Your Studio

When a parent doesn’t have a clear path to direct a concern, they will go and find just about anyone that will listen to them. From the first moment a student registers at our dance studio we let them know that we are more than open to receiving their feedback and we show them where we keep

Pointe Readiness and What To Expect

Despite that the path is sometimes painful and frustrating with prolonged and hard-won rewards, young dancers spend much time and thought getting ready for pointe work. But how will your teacher decide if you are ready? Why might she decide you are not? And what can you expect if you are prepared to bear a pair of toe shoes?

You Just Might Find, You Get What You Need

As I begin my third year of blogging, I recognize that what I really want is to give you what you need. It’s a funny thing about leadership, that it demands the willingness of both “followers” and leaders to be led by the other. But I don’t really like the word followers. I’m not looking for disciples, devotees, or minions, but compatriots. Fellows not followers.

Guest Post: Watching Versus Doing in Dance Education

Most teachers likely agree that demonstration and practice are critical to the success of dance students, but to what extent should the instructor encourage doing over watching or vice-versa? Two research studies involving young children learning complex dance movements support every dance teacher’s belief that modeling as an instructional tool is especially important in learning motor skills, especially with younger children. Furthermore, it’s a good idea to demonstrate as fully as possible, especially with beginners and young children, if you want them to get the most out of your demonstration.

Musicality In Dance: What Is It? Can It Be Taught?

Musical creativity (or musical artistry) is the ability to connect with accompanying music, interpret it, or phrase and add movement dynamics that relate to music even in the absence of accompaniment, in a way that is unique or interesting. Musicality in dance then might be considered a measure or degree to which a dancer is receptive and creative in his translation or rendering of music through movement.

Five Ways Postmodern Principles Can Positively Impact Your Studio

The exposure to postmodern principles and technique has so positively affected my experience with both commercial dance and concert dance that I would recommend that studios add it to their course roster. Young dancers who gain an early exposure to the world of post modern dance are only at an advantage in today’s competitive dance market. It will prepare them for careers as professional dancers or for success in a college dance department. The reality is that modern dance principles are gaining popularity throughout the dance world.

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